Last Supper

Paintings of Jesus at the Last Supper


Activities for Bible study groups

  1. Scroll through the paintings below. You’ll see some very famous paintings, and some you may not have seen before.
  2. Choose a favorite. What moment in the story of the Last Supper does it show?
  3.  What do you like about it? What makes it stand out from the others?
  4. Are there other moments in the story that have been overlooked, that you would like to see?

Jesus, guessing that he was about to be arrested by the authorities, had a last meal with his friends. As they finished eating, he predicted his betrayal and death. Not only that: he described how Peter and Judas, two of his closest friends, would fail him.

In a prophetic moment he asked the disciples to remember him whenever they celebrated a similar meal.

Epitaphios of Thessaloniki

The marvellous Epitaphios of Thessaloniki

A section of the Epitaphios of Thessaloniki. An epitaphios was a woven and embroidered cloth used in solemn liturgical ceremonies. Woven from gold and silver threads, it was enormously heavy, so it was laid on the heads and shoulders of two or three priests who then walked towards the altar carrying their luxurious burden.

This one, very rare, shows the Last Supper: Christ offers wine to his apostles in the section shown here. In another section he offers them the bread.



The Last Supper, Leonardo da Vinci

The Last Supper, Leonardo da Vinci



The Last Supper, Joos van Cleve, detail



Communion of the Apostles, James Tissot

Communion of the Apostles, James Tissot



The Last Supper, Pierre Dancart, Seville Cathedral

The Last Supper, Pierre Dancart, Seville Cathedral



The Last Supper, Hans Holbein the Younger, 1524

The Last Supper, Hans Holbein the Younger, 1524



The Last Supper, Phillippe de Champaigne

The Last Supper, Phillippe de Champaigne



The Last Supper, Fra Angelico, 1522

The Last Supper, Fra Angelico, 1522



The Last Supper, Passion Cycle, Ickleton, Cambridgeshire, 1150-1200

The Last Supper, Passion Cycle, Ickleton, Cambridgeshire, 1150-1200

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Jesus Christ



Modern images of Jesus and Mary






Birth of Jesus


Cleansing the Temple

Expulsion of the Temple money-changers


After his triumphal entry into Jerusalem, Jesus went to the great Temple of Jerusalem and attacked the stalls of the money-changers and merchants who did business in the Court of the Gentiles.

His action frightened the Temple authorities, who feared he was about to lead a rebellion against Roman rule.

Questions for Bible study groups

  1. Which painting is your favorite? Why? What do you like about it?
  2. How is Jesus portrayed in these paintings?
  3. Does this image of Jesus fit with your personal image of Jesus? Why? Why not?


Expulsion of the Money-changers, Giotto di Bondone

Expulsion of the Money-changers, Giotto di Bondone



Expulsion of the Money-Changers by Jesus, Valentin de Boulogne

Expulsion of the Money-Changers by Jesus, Valentin de Boulogne



The Merchants chased from the Temple, James Tissot

The Merchants chased from the Temple, James Tissot



Christ Cleansing the Temple, by Carl Heinrich Bloch, 1875

Christ Cleansing the Temple, by Carl Heinrich Bloch, 1875



Jesus Cleansing the Temple



Christ Driving Merchants from the Temple, Jacob Jordeans, 1650

Christ Driving Merchants from the Temple, Jacob Jordeans, 1650

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Jesus Christ



Modern images of Jesus and Mary






Birth of Jesus


Triumph

Jesus enters Jerusalem – famous paintings


Jesus of Nazareth entered Jerusalem riding on a young colt – as King David had done a thousand years before. Jesus was greeted by wildly enthusiastic crowds waving palm fronds, a symbol of royalty.
Did anyone stop to wonder what the Roman authorities would think, or how they would react?


Entry into Jerusalem medieval ivory plaque. The name of the man who carved this strange, strange icon is lost to us. Who was he? We’ll never know. But the ivory surface, worn smooth with the kisses of Christians over many hundreds of years, tells us that his work was not in vain. Notice the garments beneath the hooves of the horse/donkey. The gospel says the people threw their cloaks on the ground in front of the donkey, as a mark of respect and jubilation. The garments here are jerkins rather than cloaks, but never mind – the thought is there…


Gold is the color of joy and of kingship. Red is the color of triumph. But there’s black here too – the color of mourning, or death. The artist captures all this in one dramatic image, as the donkey approaches the dark gateways of Jerusalem. Why does Jesus look back towards his disciples/friends, rather than forward to Jerusalem? He knows, doesn’t he…




Entry into Jerusalem, Giotto

Entry into Jerusalem, Giotto


Entry into Jerusalem, Hippolyte Flandrin, 1842

Entry into Jerusalem, Hippolyte Flandrin, 1842


Entry into Jerusalem, Pedro de Orrente

Entry into Jerusalem, Pedro de Orrente


Entry into Jerusalem, the Assisi frescoes

Entry into Jerusalem, the Assisi frescoes


Entry into Jerusalem, Master of San Baudelio de Berlanga, 1125

Entry into Jerusalem, Master of San Baudelio de Berlanga, 1125


Entry into Jerusalem, Cristoforo da Bologna

Entry into Jerusalem, Cristoforo da Bologna


Entry into Jerusalem, Armadio degli Argenti

Entry into Jerusalem, Armadio degli Argenti


Questions for Bible study groups

  1. What was the significance of Jesus’ entry into Jerusalem at Passover?
  2. Which of the paintings below appeals to you most? Why?
  3. Which painting gives the truest image of what actually happened that day in Jerusalem?

Hidden meanings in Palm Sunday paintings

  • The branches are usually palms, sometimes olives. According to John people ‘took palm branches and went out to meet him.’ It is from this that Palm Sunday takes its name. The olive branches are explained by the fact that the scene takes place by the Mount of Olives.
  • Jesus’ triumphal entry into Jerusalem is found very early in Christian art, on 4th century sarcophagi in the gloomy Roman catacombs – perhaps because the early Christians wanted to emphasise this glorious moment rather than the tragedy of the Crucixion.
  • The gospels describe the disciples as being sent to fetch an ass and its foal (Matthew), or an unbroken colt (Mark, Luke) (the colt can be the young of an ass as well as a horse). According to John, Christ merely ‘found a donkey and mounted it.’
  • In the eastern Church Jesus traditionally sits side-saddle — a normal way of riding in the East — and is presented full-face as if enthroned.
  • Some paintings show Zacchaeus, a rich tax-gatherer, of whom Luke (19:3-4) says that ‘being a little man, he could not see him for the crowd. So he ran on ahead and climbed a sycamore tree in order to see him.’ This incident actually occurred in Jericho, but artists quietly transferred it to the scene of the Entry.

The Bible text – Jesus’ Entry into Jerusalem

Matthew 21:1-11

1 And when they drew near to Jerusalem and came to Bethphage, to the Mount of Olives, then Jesus sent two disciples, 2 saying to them, “Go into the village opposite you, and immediately you will find an ass tied, and a colt with her; untie them and bring them to me. 3 If any one says anything to you, you shall say, ‘The Lord has need of them,’ and he will send them immediately.” 4 This took place to fulfil what was spoken by the prophet, saying, 5 “Tell the daughter of Zion, Behold, your king is coming to you, humble, and mounted on an ass, and on a colt, the foal of an ass.” 6 The disciples went and did as Jesus had directed them; 7 they brought the ass and the colt, and put their garments on them, and he sat thereon. 8 Most of the crowd spread their garments on the road, and others cut branches from the trees and spread them on the road. 9 And the crowds that went before him and that followed him shouted, “Hosanna to the Son of David! Blessed is he who comes in the name of the Lord! Hosanna in the highest!” 10 And when he entered Jerusalem, all the city was stirred, saying, “Who is this?” 11 And the crowds said, “This is the prophet Jesus from Nazareth of Galilee.”

Mark 11:1-10
1 And when they drew near to Jerusalem, to Bethphage and Bethany, at the Mount of Olives, he sent two of his disciples, 2 and said to them, “Go into the village opposite you, and immediately as you enter it you will find a colt tied, on which no one has ever sat; untie it and bring it. 3 If any one says to you, ‘Why are you doing this?’ say, ‘The Lord has need of it and will send it back here immediately.'” 4 And they went away, and found a colt tied at the door out in the open street; and they untied it. 5 And those who stood there said to them, “What are you doing, untying the colt?” 6 And they told them what Jesus had said; and they let them go. 7 And they brought the colt to Jesus, and threw their garments on it; and he sat upon it. 8 And many spread their garments on the road, and others spread leafy branches which they had cut from the fields. 9 And those who went before and those who followed cried out, “Hosanna! Blessed is he who comes in the name of the Lord! 10 Blessed is the kingdom of our father David that is coming! Hosanna in the highest!”

Luke 19:29-38
29 When he drew near to Bethphage and Bethany, at the mount that is called Olivet, he sent two of the disciples, 30 saying, “Go into the village opposite, where on entering you will find a colt tied, on which no one has ever yet sat; untie it and bring it here. 31 If any one asks you, ‘Why are you untying it?’ you shall say this, ‘The Lord has need of it.'” 32 So those who were sent went away and found it as he had told them. 33 And as they were untying the colt, its owners said to them, “Why are you untying the colt?” 34 And they said, “The Lord has need of it.” 35 And they brought it to Jesus, and throwing their garments on the colt they set Jesus upon it. 36 And as he rode along, they spread their garments on the road. 37 As he was now drawing near, at the descent of the Mount of Olives, the whole multitude of the disciples began to rejoice and praise God with a loud voice for all the mighty works that they had seen, 38 saying, “Blessed is the King who comes in the name of the Lord! Peace in heaven and glory in the highest!”

John 12:12-15
12 The next day a great crowd who had come to the feast heard that Jesus was coming to Jerusalem. 13 So they took branches of palm trees and went out to meet him, crying, “Hosanna! Blessed is he who comes in the name of the Lord, even the King of Israel!” 14 And Jesus found a young ass and sat upon it; as it is written, 15 “Fear not, daughter of Zion; behold, your king is coming, sitting on an ass’s colt!”

Bible Art: Paintings from the Old and New Testament

The entry of Jesus into Jerusalem, first part of the Passion of Christ

Jesus & children

Famous paintings of Jesus with children


Questions for Bible study groups

  1. Look at the paintings of Jesus with children, below. Which one appeals to you most? Why? 
  2. How is Jesus portrayed in these paintings?
  3. What message is the artist sending, in the way he shows Jesus, and also the children? 

People brought their children to Jesus, for a blessing. The disciples did not approve, and tried to prevent it. Jesus was indignant: ‘Let them come. They are closer to God than you are’, he said. Or words to that effect.

Jesus’ genuine love of children can only be properly appreciated within the context of the callous attitudes toward children in Hellenistic society in the 1st century. We can see this in a papyrus sent from Alexandria, dated June 17, 1 BC. It is a letter from a husband to his expectant wife, who he thinks may have had her child. He says: “if it was a male child, let it live; if it was a female, cast it out.” Jesus’ action in honoring the children was a direct challenge to this attitude.



Jesus and the Little Children, Vogel von Vogelstein

Jesus and the Little Children, Vogel von Vogelstein



Christ Blessing the Children, Nicolas Maes, 1652-3

Christ Blessing the Children, Nicolas Maes, 1652-3



Christ Blessing the Children, Benjamin Robert Haydon

Christ Blessing the Children, Benjamin Robert Haydon



Suffer the Little Children, Fritz von Uhde, 1884

Suffer the Little Children, Fritz von Uhde, 1884



Jesus with the children, stained glass, artist unknown

Jesus with the children, stained glass, artist unknown



Jesus and the Children, painted by Harry Anderson

Jesus and the Children, painted by Harry Anderson, commissioned for The Church of Jesus Christ of Latter-Day Saints



Suffer the little children to come to me, Lucas Cranach the elder

Suffer the little children to come to me, Lucas Cranach the elder



Christ with the Children, Carl Bloch

Christ with the Children, Carl Bloch

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Jesus Christ



Modern images of Jesus and Mary







Martha, Mary

Martha, Mary & Lazarus of Bethany


Questions for Bible study groups

  1. Scroll through the paintings below. You’ll see some well-known paintings and some strange ones – some you may not have seen before.
  2. Choose a favorite. What moment in the story of Mary and Martha does it show?
  3.  What do you like about it? Not like? What makes it stand out from the others?
  4. Are there moments in the story that have been overlooked, that you would like to see?

In brief: Martha and Mary are the Yin and Yang of the female personality. Martha is the busy worker and house-keeper, active and productive; her sister Mary is reflective, eager to learn. Martha takes the initiative by fetching Jesus to their house when their brother Lazarus dies; Mary sits and listens to Jesus as he teaches.



'Christ in the House of Martha and Mary', Jan Vermeer van Delft, 1654

‘Christ in the House of Martha and Mary’, Jan Vermeer van Delft, 1654

Martha is voicing her grievance to Jesus, but the atmosphere does not seem to be strained. The reverse, in fact. This is a quiet family discussion at its best, with each person respectfully expressing what they feel..

Vermeer painted very few religious pictures, and it is typical of him that when he did he used an intimate, rather homely setting. Jesus is relaxed, quiet, and Martha and Mary are comfortable, at ease in their own home. This is not as accomplished a painting are most of Vermeer’s, and so it is assumed that he painted it when he was still only a young man, experimenting with different painterly techniques. Bible reference: Luke 10:38-42

Martha complains about Mary

Martha reproving her sister Mary, Orazio Gentileschi, 1620

Martha reproving her sister Mary, Orazio Gentileschi, 1620

Notice the body language in this painting by Gentileschi. Martha is conciliatory with her right hand but assertive with her left; she leans forward to show that this is a matter of some urgency; she really needs help in the kitchen. Mary is seemingly relaxed, but her face and right hand leave no doubt about what she intends to do, or about who is at the end of that pointing right hand.



Mary kneels before Christ, Martha prepares food. Vergilius Master, 1410

Mary kneels before Christ, Martha prepares food. Vergilius Master, 1410

If you look carefully you will see this is a composite picture – and a rather confusing one at that. Martha of Bethany is hard at work preparing food for her guests (right) and you would therefore expect the woman on the left to be her sister. It is not. It is Mary Magdalene, kneeling at Jesus’ feel on the morning of the Resurrection – the wounds in Jesus’ side, hands and feet make it clear that this scene is post-Resurrection. Is this just a medieval slip-up? One explanation may be that the artist was making a point: that Jesus through his death had made himself the Bread of Life, and so early bread such as the loaves made by Martha were now (at least in a theological sense) superseded. Women in biblical times did much more than food preparation. See Work in the Bible for the range of tasks they performed. Bible reference for this painting: Luke 10:38-42



'Christ at Home with Martha and Mary', Joachim Beuckelaer, 1565

‘Christ at Home with Martha and Mary’, Joachim Beuckelaer, 1565

Martha sits beside a most un-Jewish fireplace, plucking a plump fowl. She has two assistants, but her expressions suggests she is dispirited, and overwhelmed by the amount of work she is expected to do. Mary, meanwhile, sits gracefully in another room, listening to Jesus. Who wouldn’t be fed up with this situation?

Beuckelaer specialized in market and kitchen scenes, celebrating the bounty of Nature. His pictures were said to contrast worldly and spiritual values, and warn of the pleasures of the flesh, but isn’t there a certain ambiguity in this painting. Where, for example, do the artist’s sympathies lie? With the overburdened workers (Martha’s expression says it all) or with the several women listening to Jesus?



'Christ in the House of Mary and Martha', Vincenzo Campi

‘Christ in the House of Mary and Martha’, Vincenzo Campi

Martha is in the kitchen, her own personal kingdom. She is strong and able, which is just as well since the quantity of food suggests she will have her work cut out for her, preparing a meal for Jesus and his retinue of disciples. In the background sits Mary, listening to Jesus.

Campi came from a family of painters in Cremona, and was therefore surrounded by artistic creativity from birth. The trick was to find his own style. This he did by concentrating on pictures of food – luscious, plentiful food. The women he painted, too, were bountiful goddesses, and his image of Martha is of someone dedicated to the pleasures of the kitchen. Martha is often portrayed as disgruntled, but Campi’s Martha looks as if she is in her element, happy if somewhat overworked. Bible reference for this scene: Luke 10:38



 'Christ in the House of Mary and Martha', Tintoretto, 1580

‘Christ in the House of Mary and Martha’, Tintoretto, 1580

Martha has left a well-stocked 16th century kitchen (in the background), and is now remonstrating with her sister Mary. They have a lot of guests – can’t Mary come and help with the food? Mary seems hardly to hear her sister, so focused is she on the face and words of Jesus. Her luminous face becomes the heart of this painting.

Tintoretto became famous for his use of light and perspective – both qualities evident in this painting. Mary’s radiant face and Jesus’ expressive hands are both highlighted – the hands with a background of light that seems to emanate from Jesus himself, and Mary’s face against the rich darkness of Martha’s dress. When he was still very young, so the story goes, Tintoretto’s father noticed his son drawing pictures on the wall, and was struck with the precocious efforts. He sent him to the studio of Titian as a pupil. According to the story, Titian, then nearly sixty, sent the boy back after ten days, refusing to teach him, perhaps because the style of the young Tintoretto was already too individualized to allow him to be a pupil of anyone. From this time, he seems to have been his own master, spending his money on casts and reliefs from which to study his art. Despite this falling out with Titian, Tintoretto is supposed to have aimed for ‘the design of Michelangelo and the color of Titian’. Bible reference for this scene: Luke 10:40



'Kitchen scene with Christ in the house of Martha and Mary', Velázquez, 1618

‘Kitchen scene with Christ in the house of Martha and Mary’, Velázquez, 1618

Martha is clearly unhappy. She has been left with the preparation of a meal, while her sister Mary sits entranced at the feet of their honoured guest, Jesus. There is a second figure in the foreground, not mentioned in the gospel story. This painting is given an air of ambiguity by the figure standing behind Martha. Who is she, and what is she meant to represent? Is she pointing towards Mary in the next room, feeding Martha’s resentment at the unfair load of work she has to carry? Or is she pointing to Jesus, telling Martha that she too should be listening, instead of wasting these precious moments in the kitchen? Velázquez was a court painter who was paid to make his courtly subjects appear impassive – a detached demeanour was de rigueur for royalty. On the other hand, he could show emotion in a biblical subject’s face. But what emotion is this girl showing? And what is the old woman saying? Bible reference for this scene: Luke 10:38-39



Christ in the House of Martha and Mary, Peter Paul Rubens & Jan Brueghel the Younger, 1628

Christ in the House of Martha and Mary, Peter Paul Rubens & Jan Brueghel the Younger, 1628

Jesus and Mary of Bethany have been talking. Now Martha leaves the kitchen in the right rear of the painting and comes to remonstrate with her sister. Jesus turns to listen to her, but his posture shows that he is still preoccupied with the conversation he has been having with Mary. What is a monkey doing (see foreground of painting) in this biblical scene? Introducing a note of whimsy?

This painting is a collaborative effort of two great painters, Rubens and Jan Brueghel the Younger. The faces, figures and perhaps the original design for this painting have been done by Rubens. Everything else was done by Jan Brueghel. The colours are more flamboyant than usual in a religious painting – Rubens was noted for his sensual colours, which lend an air of vibrancy to the scene. The setting is European, not Judean. There is no attempt at historical accuracy, because it was the message of the painting that was important to the viewer of the time. Bible reference for this scene: Luke 10:40



Martha rebuking Mary for her Vanity, Guido Cagnacci, 1660

Martha rebuking Mary for her Vanity, Guido Cagnacci, 1660

An angel seems to be driving out the demon of Vanity while Mary, for some reason known only to herself, has taken off most of her clothes. Perhaps Cagnacci was confusing Mary of Bethany with Mary Magdalene (who was incorrectly accused by the medieval Church of being a repentant whore). Martha quite rightly is telling her to go and put something on, for heaven’s sake. Or something like it…

Some people can make anything salacious and Cagnacci was one of these – as is only too apparent in this painting of Martha and Mary. There is no mention anywhere in the authentic gospel story of Martha rebuking her sister for being vain, but since Cagnacci specialized in painting female nudes, he dreamt up one such scenario. Magnificent as the painting is, it has more to do with the fantasies of a young artist who is said to have enjoyed cross dressing, and who did not spend enough time checking his characters’ background story.

Bible reference: None that I know of.



Jesus at Bethany, James Tissot, 1894

Jesus at Bethany, James Tissot, 1894

This painting is a puzzle. What does it depict?

  • The first incident at Bethany, where Martha complains that Mary is not helping her?
  • The second incident, where Jesus raises Lazarus from the dead? It cannot be this, because Lazarus was raised before Jesus actually got to the house.
  • Nor can it be the third incident, which is set at night inside the house.

Everyone in the painting seems to be grieving, so it can’t be just an ordinary visit that Jesus made to the house at Bethany. Any ideas?

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Jesus Christ



Modern images of Jesus and Mary






Birth of Jesus


Jesus’ family

Jesus, Mary & Joseph: the Holy Family


‘The Holy Family’: this name is given to the infant Jesus, his mother Mary, her husband Joseph, her mother Anne and her cousin Elizabeth. Paintings of the Holy Family became particularly popular during the Renaissance, as a model of the ideal family.

Questions for Bible study groups

  1. Paintings of the Holy Family come in all shapes and sizes. Scroll through the paintings below and choose two or three you like best.
  2. Why have you chosen these particular paintings? What is it that appeals to you?
  3. What moment in the life of the Holy Family would you choose to paint, if you were a painter?

The Holy Family, workshop of Raphael

The Holy Family, workshop of Raphael

Paintings of the Holy Family often show some object that is a presentiment of Jesus’ horrible death: a little wooden cross, some carelessly placed nails, etc. Raphael has, thank goodness, ignored this tradition. Here Mary plays happily with her chubby little son, both seeminly unaware of the future. Some commentators suggests that the veil Mary dangles over Jesus is a reference to the shroud that would one day cover his body. Let us hope they are wrong, and that Mary is merely playing with her little son as any mother would.
Raphael, like all Renaissance artists, ignored historical accuracy: his Mary is more high-born Italian noblewoman than Jewish peasant girl. The real Mary could only have dreamed of the clothes and jewels this Mary wears.



The Holy Family with a Little Bird, Murillo, circa 1650

The Holy Family with a Little Bird, Murillo, circa 1650

Murillo’s Holy Family looks and acts like a normal family. Mary is spinning, Joseph’s workshop is nearby (at right), and this family has pets they play with. Jesus is blond, an historical impossibility – but then this is a Spanish painting, and blond-haired children were rare and prized in medieval Spain. The little bird is a goldfinch, a symbol of Christ’s Passion, since goldfinchs eat thistles and thorns like the ones used in the Crown of Thorns. Murillo’s Joseph is strong, young and in control, refuting paintings that showed him as an old man unlikely to have a sexual relationship with his wife Mary. Mary works quietly in the background, the ideal wife! Both parents are focussed on Jesus – as we should be, the artist implies.



St Joseph the Carpenter, George de la Tour

St Joseph the Carpenter, George de la Tour

George de la Tour specialized in light/shadow (chiaroscuro) paintings, using indirect lighting to throw the subject into simple, almost giometric shapes. The effect is calming, meditative. Here Jesus holds a taper to illuminate the work Joseph is doing, but more light seems to come from his own face than from the taper. Though still a little boy, Jesus is already the Light of the World.



The Carpenter's Shop, Edward Stott

The Carpenter’s Shop, Edward Stott



Father and Son, by Corbert Gauthier

Father and Son, by Corbert Gauthier

Many paintings of Joseph and Jesus have some object that makes reference to the future Passion of Jesus. The piece of wood that Jesus holds may be a reference to the cross-beam he will later carry to Calvary, but it may also be just a piece of wood he is learning to plane. His father Joseph watches him fondly, ready to lend a gnarled hand should the child need help. Gauthier’s painting has a lovely serenity not often seen in representations of this scene.



The Visitation of Mary to her cousin Elizabeth, Ghirlandaio

The Visitation of Mary to her cousin Elizabeth, Ghirlandaio



Visitation of Mary to Elizabeth, Dennis Creffield

Visitation of Mary to Elizabeth, Dennis Creffield

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Jesus Christ



Modern images of Jesus and Mary






Birth of Jesus




Jesus’ birth

Paintings of the birth of Jesus


Questions for Bible study groups

  1. Identify one of the paintings below that tries to show the scene of Jesus’ birth as it really was
  2. Identify a second painting that relies on symbolism, not reality
  3. Which painting do you prefer? Why?

Paintings of the birth of Jesus may show him born in an animal’s storeroom to an ordinary peasant woman, or ignore historical fact and show a richly dressed woman with a newborn king.

Both versions are right: Jesus was one of us, born to ordinary parents, but he was also King of Kings, born to glory.


Paintings of the Nativity may show:

  • a ruined building – not because Mary and Joseph were poor, but to symbolise the failure of the old world, the old way of doing things; Jesus would usher in a new world
  • Detail for Ghirlandaio's Nativityangels, signalling the presence of God and his protection of the Holy Family
  • shepherds, the first people to recognise who Jesus was
  • the animals, representing the whole of Nature
  • the infant Jesus unwrapped to show his human body; he was truly man as well as God
  • Mary, usually showing no signs of exhaustion from a normal birth (Caravaggio caused outrage by painting a weary Mary)
  • Joseph, sometimes as a young man but often an older man who would not infringe on Mary’s virginity.

Study for the Christ Child, Royal Collection, Windsor Castle. Federico Barocci


The Birth of Christ, Federico Barocci, 1597

The Birth of Christ, Federico Barocci, 1597

How sweet this painting is. Mary, the new mother, is unable to drag her gaze away from the miracle that is her baby; Joseph, the elated father, pulling visitors in to see his child, surely the most wonderful thing in the universe; and the calm ox and donkey, who look as if they have seen it all before.

Barocci used pastel colours to great effect. His paintings were subtle, gentle, engaging. The composition of this paintings is also interesting: the newborn baby is at the far right, almost outside the picture, but everything directs our eye towards it: Joseph’s pointing hand, Mary’s face and hands, the animals’ gaze.

The Virgin of the Veil, Ambrogio Borgognone, 1500

The Virgin of the Veil, Ambrogio Borgognone, 1500

The new Eve (Mary) has discarded the half-rotten apple, symbol of Eve’s disgrace. Her son will save the world lost by Adam and Eve. In the background, through a window, sit two Carthusian monks pointing to the monastery that will house this magnificent painting – the Certosa di Pavia in Lombardy.

Gerard van Honthorst, 1622

Gerard van Honthorst, 1622

Radiant light emanates from the newborn child, illuminating everything around it – Jesus is the Light of the World. It is also a symbol of the message this baby will bring to the world. But Mary, do cover up the baby please – it’s winter, after all.
In the bottom righ-hand corner of the painting is a device that looks like a crest of arms, or insignia. This is probably the crest of arms of the person/family who commissioned the painting from van Honthorst.
Can anyone tell me the name of this patron?

Adoration of the Kings, Jan Gossaert de Mabuse (Maubeuge)

Adoration of the Kings, Jan Gossaert de Mabuse (Maubeuge)

The best of the early Renaissance painters concentrated on exquisite decoration; they were not interested in graphic portrayal of real life.

There are many figures and components in Mabuse’s ‘Adoration of the Kings’, but each one is necessary to the whole. The artist obviously worked it out in great detail before he began to paint – indeed, the actual application of paint was only a last step in the process.

Every figure and object emphasises the importance of the Madonna and the Infant Jesus – they have become the center of the universe. But the real world is there too, in the presence of two small (but aristocratic) dogs.

Lorenzo Costa, 1490

Lorenzo Costa, 1490

The Madonna has the facial delicacy which was a feature of Costa’s paintings. Am I alone in noting some similarity between this Madonna and the women painted by Leonardo da Vinci? Note the pose of the Infant Jesus; he is usually shown lying on his back looking upwards at his mother. Discarding this formula, Costa has a drowsy Infant looking outwards, towards the viewer. What a relaxed little baby! Joseph looks glum – or is it merely his drooping moustache that makes him seem so?

Gerard David, circa 1510

Gerard David, circa 1510

Art critics have called Gerard David’s paintings conservative, even bland, and who am I to argue? But he paints the most wonderful angels – glorious creatures, truly celestial. See their exquisite wings in his ‘Annunciation’ in the thumbnail at right. If this is ‘conservative’, give me more.

Bruges, as the headquarters of Netherlands art, was losing its importance to Antwerp when this painting was done. David was the dean of the painters’ guild, and also the last great master from this town. His paintings, beautiful as they are, have a certain melancholy, a gentle sadness.

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Modern images of Jesus and Mary






Jesus and Children




Annunciation

Mary, the Angel Gabriel: famous paintings


Who was Mary? A young girl in the unimportant village of Nazareth. She had a message from God that the gospels describe as the visit of an angel. She was asked to be the mother of a son who would one day be the Messiah. She accepted this awesome task.

Questions for Bible study groups

  • What’s your favorite Annunciation painting? Why? What do you like about it?
  • What are some of the main symbols of Mary in these paintings?
  • What do they mean?
  • How are angels presented in paintings of the Annunciation?


Annunciation, Edward Frampton

Annunciation, Edward Frampton


Annunciation, Fra Angelico, 1438

Annunciation, Fra Angelico, 1438


Annunciation, John William Waterhouse, 1914

Annunciation, John William Waterhouse, 1914


Annunciation, Titian, 1522

Annunciation, Titian, 1522


Annunciation, Antonello da Messina, 1474

Annunciation, Antonello da Messina, 1474


Annunciation, Fra Angelico

Annunciation, Fra Angelico


Annunciation, George Hitchcock, 1887

Annunciation, George Hitchcock, 1887


Annunciation, John Collier

Annunciation, John Collier

Hidden meanings in Annunciation paintings

  • Light passing through a glass window, or a walled garden, symbolize Mary’s chastity.
  • Christians believed the Annunciation took place in springtime – the Annunciation is celebrated on 25 March, nine months before Christmas Day. So Mary is often shown with a spring flower in a vase, which later became a lily, symbol of virginity.
  • The archangel Gabriel is winged and traditionally in white. He may be descending towards the Virgin, or standing or kneeling before her. In early examples the angel holds a sceptre tipped with a fleur-de-lys, an attribute of Gabriel, but later he holds the lily. In Sienese paintings he holds an olive branch, a sign of the enmity that existed between Siena and Florence, since a lily was the emblem of Florence.
  • Mary is often shown with a book open at the celebrated prophecy of Isaiah (7:14), ‘A young woman is with child, and she will bear a son . .’
  • The dove usually descends on a slanting ray of light that touches the Virgin’s head or breast, delicately suggesting the moment of conception.
  • Italian Renaissance paintings show Mary in an open loggia, and only rarely in her house. Northern artists put her in an ecclesiastical setting, because the Gothic style with pointed arches and slender pillars symbolized Christianity and the Church. This contrasted with other buildings — rounded arches, plain pillars and domes — which correspond to the architectural style of the eastern Mediterranean, and are therefore symbolic of Judaism. The Virgin is sometimes depicted within or standing at the door of a Gothic building, while nearby the Romanesque crumbles into ruins.
  • The area in which the Virgin receives the angel is well lit, illuminated by the light of the Christian faith, in contrast to the small dark windows of an ‘eastern’ (Romanesque) temple.

Other Paintings


Jesus Christ



Modern images of Jesus and Mary



Birth of Jesus


Jesus Christ

Jesus the Christ – famous images


Questions for Bible study groups

  1. Look at the paintings below, and choose your favorite.
  2. Why have you chosen this particular image of Jesus? How does it present Jesus? What is it saying about him?
  3. Why does this particular way of showing Jesus appeal to you?

 'Head of Christ', Richard Hook

‘Head of Christ’, Richard Hook

Here is a face that is energetic, full of hope, idealistic in the best way – everything that Christians believes Christ was, and everything each Christian tries to be. The man in this image believes anything is possible, and that we are capable of reshaping the world in God’s image.


El Greco, Cristo Salvator Mundi (Christ, Savior of the World)

Christ, Savior of the World, El Greco


'The Light of the World', Holman Hunt

‘The Light of the World’, Holman Hunt

The Scapegoat

This painting was first exhibited in 1854, and caused an immediate sensation. As in ‘The Scapegoat’, there is meticulous care for detail. Nothing is suggested or left out. Branches and flowers are positioned with care, and each has a symbolic meaning.

No artist since Blake put so much zeal into his work. But whereas Blake was a mystic, Hunt’s message was straightforward, to the point. His moral and devotional feeling impressed the crowds who came to see his paintings, many of which had a Christian message. In ‘The Light of the World’, Christ knocks in vain at the door of a human soul/conscience. But the weeds and vines growing in front of the door show how long it has been since this soul responded to Christ’s presence.


Hagia Sophia 'Christ Pantocrator'

Hagia Sophia ‘Christ Pantocrator’

An image of Christ with one hand raised in blessing and the other supporting a richly bound book containing the Scriptures. This is from the Hagia Sophia, with Christ as the personification of Holy (hagia) Wisdom (sophia).

Hagia Sophia was essentially an imperial building, the personal church of the Emperor and his court, rather than a place of worship for ordinary people. So Christ is shown in all his glory. But he is human as well: there is subtle shading in the cheeks, neck and right hand of this image. His humanity is emphasised by the deep eye sockets, bags under the eyes and the downward curve around the mouth. This is a kingly Christ, one who sees all the good and evil in human beings and yet loves them.



 'Christ the Redeemer', Rio de Janiero

‘Christ the Redeemer’, Rio de Janiero

The statue of Christ with open arms is a worldwide symbol of peace, recognised by believers and non-believers alike. Christ, visible to all who will look up, opens his arms to anyone who comes to him.



'Christ Pantocrator' (Christ the Almighty)

‘Christ Pantocrator’ (Christ the Almighty)

This icon, from a monastery on Mount Sinai, is the oldest known image of Christ Pantocrator. Notice that the two sides of Christ’s face are markedly different to each other. This is said to symbolize the two different natures of Christ: Christ is both truly human, and truly divine, in the one person. Christ’s right hand is raised either in blessing, or in the traditional gesture of a teacher. He holds a richly decorated book; the cross on its cover tells us that it contains the Gospels. He is simply dressed but majestic.



'Head of Christ', Rembrandt

‘Head of Christ’, Rembrandt

Rembrandt painted a number of portraits of Christ, of which this is one. All of the paintings show a sombre, pensive Christ. He is bearded and in the workaday clothes of a medieval artisan.



 'Salvator Mundi' (Saviour of the World), Leonardo da Vinci

‘Salvator Mundi’ (Saviour of the World), Leonardo da Vinci

Compare Christ’s right hand with the image of Christ Pantocrator above. The gesture is the same. But instead of a richly decorated book, the figure of Christ in this painting holds a glass globe, symbol of the earth itself.
The authenticity of this painting is being hotly debated. It may or may not be a genuine Leonardo da Vinci. The painting does not have the Mona Lisa’s smile, but the figure has a similarly steadfast gaze, and there is the same immediacy and slightly unnerving challenge in the eyes.



'Head of Christ', Leonardo da Vinci

‘Head of Christ’, Leonardo da Vinci

The face of Christ, taken from da Vinci’s Last Supper, is inexpressibly sad. Surrounded by friends, he is aware that death, and a horrific death at that, is only hours away.



 'Head of Christ', Warner Sallman

‘Head of Christ’, Warner Sallman

This is an extraordinarily popular images of Christ, said to have sold over 500 million copies. Sallman’s Jesus is serene, thoughtful and visionary. His mouth is set in a firm line, as if he sees his grim future and accepts it.
Many families have used this painting to remind themselves that Christ is present in their home and their hearts.



'Head of Christ', Petrus Christus

‘Head of Christ’, Petrus Christus

The reproachful eyes of Christ look out with an uncompromising gaze, seeming to ask the viewer ‘Why?’ Petrus Christus, who painted so many gloriously frivolous angels and saints, does not even try to sugar-coat the message here. He lays the blame for Christ’s death squarely on our shoulders.


Stone mosaic image of Christ, excavated Roman floor Hinton St Mary, Dorset, England

Stone mosaic image of Christ, excavated Roman floor
Hinton St Mary, Dorset, England

This may or may not be a 4th century representation of Christ. It is a mosaic floor unearthed in the town of Hinton St. Mary, Dorset, England, and seems to show a Romanized man backed by the chi-ro symbol which was used by early Christians to represent Christ. On either side of him are pomegranates, symbols of fertility. At the time this floor was created Christianity was not under persecution, so it is feasible that a Christ-figure was used to decorate a wealthy house or public area.


Find Out More


Modern images of Jesus and Mary




Gospel text for this story



Birth of Jesus




Descent

Jesus is taken down from the cross


Jesus’ friends pried his dead body off the cross and lowered it into the arms of his mother Mary, and into the care of the disciples, mostly women, who waited on the slopes of Golgotha.



The 'Pieta' by Michelangelo

The ‘Pieta’ by Michelangelo



'Descent from the Cross', Rogier Weyden

‘Descent from the Cross’, Rogier Weyden



'Descent from the Cross', Max Beckmann 1917

‘Descent from the Cross’, Max Beckmann 1917

Note that this German painting was done at the height of World War I,
with Christ opening his arms to suffering humanity



'Descent from the Cross', Jean Jouvenet

‘Descent from the Cross’, Jean Jouvenet



'Descent from the Cross', Pieter Coeck van Aelst

‘Descent from the Cross’, Pieter Coeck van Aelst



'Descent from the Cross', Charles Le Brun

‘Descent from the Cross’, Charles Le Brun



'The Descent from the Cross', Tintoretto

‘The Descent from the Cross’, Tintoretto

Find Out More


Jesus Christ



Modern images of Jesus and Mary






Birth of Jesus